31

1390

 : 1342
: /
: :.1389
72 : ) (25x23 ..
978-600-91324-3-0 :
:.
INDIGENOUS AND LOCAL GAMES OF IRAN :
: -.
: 1345
2 1389: 6 GV 657 /
796/0955 :
2273351 :

 


:
:
:
978-600-91324-3-0 :
5000 :

,
:1390
3500 :
",

1
   56  7
 8
9: +4

: 340 12

 

-66564365 :66564266 :


.
.
.

.

.
.
.
.
.
.
.
)( .
)(TSG
.

.

.

.

...
.

 ..

. .

.

.
. :
.
.
.
.
.
.
.
.
.

..



.
.

.








.


.

.


1390 /
Game of Oshtor-oshtoran, National Festival of Game and Toy for the Children of Yesterday and Today, Sara-ye Sa>dossaltane,
The Biggest Urban Carvansari of Iran, Charsuq , Qazvin, Spring 2011

..........................................

36............................................................................................

........................................................

38 ....................................................................................

..........................................................................................

) ( 40...............................................................

42 ................................................................................

8 .....................................................................................

44.................................................................................................

10 ........................................................................................

46 ..........................................................................................

12...................................................................................................

48...................................................................................

14.........................................................................................

50.......................................................................................

16 .....................................................................................

52..........................................................................................

18......................................................................................

54.....................................................................................

) (20 ................................................................

56..........................................................................

) ( 22................................................................

58.........................................................................................

24.........................................................................................

) ( 60....................................................

26 ............................................................................................

62.........................................................................................

28 ...............................................................................................

64................................................................................................

30............................................................................................

66 ......................................................................................

)( 32 ......................................................................................

68.....................................................................................

34................................................................
:
18 10 36

:
.
:
. : :
/ ./ / /
.
: :
.
: :

siyb, Becharkh!

Oh mill! Turn round! The game is comparable to performing arts, too. The children, first, take one anothers hands,
and form a loop. One takes the role of the leader (Ostd). They sing; the following is a rough translation of the song:
Leader: Oh mill! Turn round! / Group: I will.
They circle starts turning, till the time they start to lose their control and the circle is about to break.
Leader: Oh mill! Sit down! / Group: I will. / And they sit down.
Then they continue with the following sung dialogue:
Leader: Oh mill! Stand up!. / Group: I wont. / Leader: For the aunts sake; / Group: I wont. / Leader: For the aunts
sake; / Group: I wont. / Leader: (For the sake of) The trunk lock; / Group: I wont. / Leader: For gods sake; / Group: I
will. Then they continue: /Leader: Oh mill! Go to sleep! / Group: I will.
And the group members sleep by closing their eyes. / Leader: Oh mill! Make a chair! / Group: I will.
And they lift a leg, and pretend that they are sitting on a chair.
Finally: Leader: Oh mill! Turn round!
And they all turn round. Then they add to their speed, by calling: - Oh mill! Make it faster! Faster! Faster!

10

:
. 80)(
)( .
.


.
) ( .
.
. .

Alak-dolak

Description: Popular throughout Iran, the game enjoys specific rules for every region. The players are
divided into two teams, and the starters are elected.
The leader of the first team (the starters) uses a, roughly, one-meter long wooden stick (Dolak) to throw a
smaller stick (Alak) toward the competing team; then he leaves the Dolak at the place where he has hit the
Alak.
Members of the other team try to grab the Alak in the air: such an achievement defines them as the winners,
and the teams change their places. If the Alak drops, this time a member of the second team takes it and
throws it toward the Dolak; the starters Captain must hit the Alak in the air, and if he doesnt succeed, he
must give his place to another team member to continue.
The members of the team of winners, then, take turns to hit the Alak with the Dolak in the air, to guide it to
as farther a place as they can. After the last member, then it is the duty of the losers to carry the winners on
their backs, from this place to the starting point.

12

) (

.
. .



.
.
.
.

Alakhtor

Also called Yek-lenge-p, Alakhtarak, Varmz, or Khorus Jangi in various parts of Iran, the simple game
consists of grouping the players in the form of two competing teams, each having its own captain.
Each captain, chooses and sends his team members, one by one, to the ground. The two selected players
must stand on one leg, and grab the other in one hand, and try to force the rival to lose balance and fall
down.
Keeping the same position, the winner must move toward the other team members and reach them; if he is
unable to do so, he, too, will be announced as loser.
The final winners are the members of that team who are able to send more members toward the competing
team.
A variety of the game, chooses a member as Dmd (bridegroom), and it is the bridegroom who has the
responsibility of reaching the other team.

14

.
. .

. :
/ !

.

Bl-Bolandi

Bl-bonandi constitutes a game for younger children (the word meaning remaining on raised spots).
Popular Called Gorg (wolf) an individual is elected to run after the others to catch them. When it is felt
that the Gorg is approaching, the player being followed tries to stand on a raised spot (it may have been
predetermined); the Gorg can not catch them unless when they are back down.
The one who is caught, changes places with the Gorg.
The players recite folk songs to make fun of the Gorg, while taking care not to be trapped. Conveyed into
English, one such song reads as:
Oh Gorg! Dont you ever be lazy,
Oh, my dear! Dont you ever remain alone.
On smooth open fields, circles of squares depicted on the ground may function as raised points.

16

) (
.
.

. 4
3
.


.

Bil-gardni

Meaning, roughly, turning the spades, Bil-gardni is a game of Nimvar district (Markazi Province,
Central Iran), with a long history. The ritualistic values of the game encouraged the registration of the
element as an element of the Iranian Intangible Cultural Heritage.
The game is part of a ritualistic festival to respect water, and its bestowed place in irrigation. It, also, is
reminiscent of Pahlevni conduct of the Iranians of all ages. Nowadays, the ritualistic game has turned into
a competition among volunteers.
To start, seven large spades are fastened together, as two larger packs of four and three spades; and this is
reminiscent of the holy number of the seven heavens. The player holds the pack of 4 spades in his right
hand, and the other with 3 spades in his left hand, then he places his right leg in front of his left leg, and
starts turning the two packs, in opposite directions, round his head. The two packs, each weighing to around
30 kilograms, are lifted, each in one hand, to the level of the players shoulders, then they are turned round
his head.Once the packs touch the ground or each other, the player is claimed as loser, and is followed by
the spectators complaints.

18

.
.
.




.
.

Tzdn-Anzali

The players bend down for the others to jump over them. They take turns. The game consists of 12 stages,
consisting of the jumpers uttering specific sentences, or performing comic movements, or doing a skill.
The first three jumpers, jump when they utter some sentences; the fourth jumper utters the sentence and
hits with a blow; the fifth person puts a stone on the back of the player who has bent; the sixth player jumps
with one hand and grabs the mentioned stone; the seventh, eighth, and ninth players may press, stop, or
shake while jumping; the tenth practitioner puts a hat on the back of the player; the eleventh jumps in a way
that the hat does not fall down; and, finally, the twelfth player jumps, grabs the hat, and throws it up in the
air. Observing this, they all run away. The person who has bent down, takes the hat. He, then, turns round
himself for three times, and starts following the other players and throws the hat at them. The one who is hit
with the hat must bend down, and the game phases are repeated.
There are regional varieties for the game, with their specific rules.

20

) (

.
.

.
.
.

.

Torn-bzi

Torn-bzi (a game with belts) is popular among almost all of the nomadic and rural communities of Iran.
The players are divided into two teams, and one team is elected to remain inside a circle depicted on the
ground.
The circle is surrounded by the members of the other team.
The belts are arranged on the circle, with their heads pointing toward the center. Each of the players inside
the circle puts his foot on his own belt, and prevents the rivals to take it, while trying to hit their legs with
his own leg, to force them lose the game.
The rivals, in turn, try to steel the belts, or to pull the other team members out of the circle. With the stolen
belts, the competing team tries to hit the other team members legs, to force them away, to steel more belts.
The two teams, then, change places.

22

) (

.
. )
/ (.
.
.
.
.
.

Tarke-bzi (Chub-Bzi)

A game with sticks, Tarke-bzi starts as Dastml-bzi (game of handkerchiefs) for warming up; then it
enters the main phase of playing with sticks.
There are two players.
Each player takes one stick (a longer defenders stick, almost 1.5 meters long, that acts as a shield, and a
shorter attackers stick, which functions as a sword).
The attacker, first, shows up with some dance-like movements; then, he attacks suddenly.
Each of the two sides make sudden cries to frighten the other side.
After a few trials, the two players change places.
Music accompanies usually, and the game is performed, especially, in weddings and other festive events.

24

.

.
.


.
.
.

Tanur Garme

Tanur Garme (roughly, the oven is heated) consists of dividing the practitioners as two teams. Then a
circle with a diameter of around 2 meters is depicted on the ground. A team is elected to remain within the
circle; they stand facing each other in a circle, bend forward a little, and grab one another on the shoulders.
A team-mate rund round them as a guard (called slr). One of the guards arms is linked to his team (e.g.
with a piece of rope), and he is allowed to defend with only one arm and one leg.
The members of the other team try to enter the circle to jump on the back of the members of the other team,
while taking care of their legs not to be hit by the Slr. On the back of a member of the other team, the
individual can remain till the time the other player is tired and sits. By this time the oven is said to have
been ruined.
The player riding on the back, must take care not to let his legs down to the ground: this lets the Slr to hit
him. Players, even, dare to jump on the back of the Slr.

26

.

.

.


.

. . .

Jurbin

The game is played at long winter nights, also the Holy Month of Ramadan nights, in Kordestan and West
Azarbayjan. Popular througout the region, the game is attended, even by guests from neighboring villages,
and may last for several days.
Two competing teams are elected.
The two team mambers sit, facing their rivals. Each team has five woolen socks, with open mouths, in
front. The starters are elected.
One player shows a small stick, called Mzuj, to the other team members, and enters his hand into the
socks, one by one, to leave the stick on one. Now its the other teams turn to find the sock with the stick. If
it is found with the firs trial, eleven scores are won, and the two teams change places; if not, the team loses
eleven scores. The other team has the right to omit empty socks one by one, and it, again, the other team is
unable to fing the stick, the scores are added by adding the number of the omitted socks. The highest limit
for the scores is agreed upon. The game has regional varieties, with differetn rules.

28

.
.
.

Jowzn

First a circle is depicted, with a diameter of 4 to 5 meters. Two teams are formed and the attacking and
defending sides are elected. The defenders remain within the circle, and the attacking team members try
either to hit them, or to pull them out. The defenders, in turn, try to resist, either by hitting the attacking
team members with their legs, or to pull them in. Having succeeded in pulling one of the attackers into the
circle, the player shouts Jowz!, and the team scores one point. If the attackers do the same thing, it is their
team which wins the bonus.




. 2
.
.

30

) 3
(










.

Dlpaln
A game of the throwing objects class,
Dlpaln needs sufficient physical strength,
and experience in hitting targets. At least
two individuals must take part.
The players are arranged in the form of
two competing teams, and the starters are
elected.
The two teams are arranged in rows, facing
each other at a distance agreed upon.
Then each team places, usually, three
pieces of flat stones in vertical position, in
a row.
The other team members follow by
throwing the stones they have toward these
targets.
They take turns in doing this. Every player
is allowed to throw one piece; however, if
he succeeds in hiting them, he will receive
bonus chances for more trials, equal to the
number of targets he has hit.
The two teams change places if, at least,
one of the targets has been hit.

32

)(

....
.
.
.


.

.

Zu

Comparable to the Indian Kabedi, the game of Zu starts with dividing the competitors into two teams. Each
team is led by a captain, and, then, the attacking and defending teams are elected. The field is divided into
two parts with a dividing line depicted on the ground.
The captain elects the first attacking player; he must pronounce the word Zuuuuu continuously with just
one act of breathing, while he enters the field for the other team to hit as many defenders as he can through
touching them. He must come back before he loses his breath. If he is caught by the defenders, he is obliged
to leave, and a member of the other team takes his place. The number of the players which are allowed to
come back to the game, will be equal to the number of the players of the other team who have been hit by
the attacking individual. If, while being caught, the attacking player manages to come back and touch the
dividing line in the middle of the playground, those who have captured him must leave the game.
In rural areas of Iran, the game is performed in all kinds of grounds, where they define circular or square
playgrounds. Among the other names for the game, Koder-Koder, Ke Budi, Bad-badi, Shirin Do-do, and
sh Ti-ti are worth mentioning.

34

.
: ) (
.
.
.
.

Horse-riding

Accompanied by acrobatic movements, horse-riding has a long history in Iran, especially among the
nomads and the Turkmen.
The techniques include grabing stones off the ground, grabing hats from a raised place, standing on
horse-back, getting on or off the horse-back while moving, and hiding on the other side of the horse while
moving.
The game is followed in special ceremonies, and the competitions are judged by the respected elders. Music
accompanies, usually.
Horse-racing is also popular among the same communities.

36

.
.

.
.

.
.

Shh-Vazir

Meaning the king and the vizier, the game enjoys a long history in Iran. The practitioners, first, take the
roles of the king, the vizier, the executioner, and the thief, by hidden votes.
In older times, in traditional Iranian coffee-houses the game is believed to have created an atmosphere of
respect for ethics, since it was believed to propagate humanistic, ethical principles.
The game, usually, was accompanied with reciting respect for Muhammed, the Holy Prophet of Islam, as
well as reciting poems, and distribution of candies or tea among the audience.
The present-day form of the game consists of the kings asking the vizier to find the theif from among the
players. If the theif is chosen, correctly, he will be punished; however, if the vizier, mistakenly, points to the
executioner, it is he, himself, that mus tolerate the punishment.
The punishments include hiting the hand balms with belts, blackening the faces, carrying people on ones
back, buying tea for the people, or singing, among others.

38

.
)
( . 750 800 350 700
3 2 2/5 .
.
.
.
15 20 30 35
. 1000 8 10 .

Shotor-Savri

Greately tolerating and vigorous, camels have succeeded in a best way to adopt themselves to the climatic
conditions prevailing in parts of Iran, to the extent that they play a significant role in the livelihood of the
people of these regions.
The, so called, camel-riding competitions are taken part with camels of all kinds in Iran (except, of course
, for Lamas which are not found in the Middle East). The weight ranges of various species of camels vary
between 350 to 800 kilograms, the length of their necks reaches to around 3 meters, while their height is
calculable to around 2.5 meters.
The more massie species are used for carrying loads; the lighter ones, called Jammz, are more suitable for
camel-riding competitions.The suitable camels are distinguished and trained for races as of early childhood.
Camels can run at a speed of, maximally, 15 to 20 kilometers per hour. In shorter distances, however, their
speed can reach to, even, 30 to 35 kilometers per hour.
The camel-riding races are, usually, attended as, either short-distance (1,000 meters), or long-distance (8-10
kilometers).

40

) (

. .

. .


.
.

dilmnj

Also called Panjere-bzi (roughly, game of windows), dilmnj starts when one player sits on the ground
and stretches his legs; the others take turns to jump over his legs.
He, then, continues by putting the heel of one foot on top of the fingers of the other; and the players must
jump over a new obstacle. The player, then, sits down and opens one of his hands in the form of a span, ant
puts it on top of his feet; and in the fourth stage, he puts another span on top with his other hand.
If one player fails to jump over these without touching the sitting players body, they must change places.
Extensions of the game, after the fourth stage, include having another player sitting in front of the firs
sitting player, with his feet on top of the previously constructed obstacle. They can also open their legs to
add to the length of the jump.
The number of the sitting players can, even, extend to four, and the height of the obstacle can reach to more
than two meters.

42

.
:
/ . / . / . / . / .
/ ) (

.
.
. .

Amu Zanjirbf

Denoting, roughly, chain-maker fellow, Amu Zanjirbf is played by a group of younger children, who
take one anothers hands, and arrange themselves in a row. Two of the players take the roles of Amu
Zanjirbf, and the captain, and join the row, each at one end. The captain guides the group to ask questions,
which Amu Zanjirbf must answer. A rough translation of the dialogue may read as:
- Oh, Amu Zanjirbf! / - Yes? / - Did you make my chain? /- Yes. / - Did you throw it behind the mountains?
- Yes. / Father has come! / - What has he brought? / - Nuts. / - Eat them, and come! / - With which call?
- The call of a cow (to be substituted, repeatedly,
by other animals in each of the next turns of the game).Having heard the name of the animal, the captain
leads the group to imitate the animal in producing the call, while they all pass under the bridge made by
Amu Zanjirbf and the first player in the row connected to him. This leads to the construction of the first
loop of the chain. The game continues in the same fashion, till the time two of the players are forced to be
separated. By this time they are claimed as losers, and they must be punished.

44

.
. ) (


.
.
.

Qeiqj
Denoting unbalanced movement, the word Qeiqj refers to a game of shooting at targets while riding
horses.
Having specified a target on a field, the horse-riders (male of female) continue with acrobatic movements
on horse-back, and shooting at the target in various positions: on back of the horse, below its belly, or
between its legs.
Nomadic wedding ceremonies, especially, of western Iran include the game, particularly at the time when
the bride is beign carried to the bride-grooms house.
Regional music accompanies, too.
Influenced by the regional cultural norms, the game induces brevity. Horses constitute a vital, mythological
character in the lives of Iranian nomads.

46

.
. .
.
.
.
.
10
. .

Kesh-bzi

Meaning a game with elastic threads, Kesh-bzi starts with dividing the players into two teams.
At least, three players must take part: two to hold the thread with their legs, and one to play in between the
two, by jumping over it.
The game starts by the middle person to jump and try to hold both threads under her feet; if she does not
succeed, she will lose, and must giver her place to another player.
The game goes through several stages, each characterized by specifid names.
The higher the thread from the ground, the more difficult the game will be.
Kesh-bzi may reach to the tenth stage.

48

. .
.
14 70 .
" " .

.
.
... .

Chukhe wrestling

Popular in Northern Khorasan, Chukhe enjoys a deeply rooted history. It is played in wedding ceremonies
or agriculture seasons, among other more ordinary gatherings. The game has been inscribed in the National
List of Iranian Cultural Heritage, as a ritualistic heritage. Gradually the game has been transformed
into a sport, and has adopted its own system of rules and regulations. Various seasons and gatherings
are, nowadays, accompanied by Chukhe competitions. However, the main performance occures on the
fourteenth day of Nowruz, with the presence of 70 thousand people, at Cheshme Zeynal-khn ground of
Esfaryen. During the ceremony the Pahlevn of the year is elected.
Usually, regional music accompanies throughout. The most popular piece is Kuroghli, a mythical Pahlevni
music. At determining points of the competition, the music accompanies with a faster tempo.
At its start, the ceremonies show similarities with the Zurkhne ceremonies: respect for the elders, kissing
the ground, etc. Following this, rivals are called for, and the competitions stars.

50

.
.

. .
. .

. .

.

Locho Wrestling

Popular among the younger, as well as the older, men of northern Iran, Locho has its roots in the, so called,
Pahlevni culture of Iran. The game emphasized respect for the rival, and forbids harsh techniques. The
competitive manifestation takes place in religious or national festivals, before or after agriculture seasons,
in the course of seasonal markets, or at the wedding ceremonies. The respected or the elders take part as
organizers; they prepare the ground for inviting practitioners from throughout the region, and for the costs
to be gathered.
The ceremonies are accompanied by regional music, and the wrestlers call for volunteer rivals, with whom
the ceremonies inaugurate.
Having two parts of his body touching the ground (e.g. head and elbow, etc), the individual will lose the
wrestling.
The top winner takes his gifts (handwoven fabric, clothes, even, sheep or cows) to his village.

52

.
.
.
.
.
.
.

Kolhparn

Meaning throwing hats, the game enjoys various regional names. The ground is a rectangle, with a circle
at on end, and a tree or a similar item at the other. The two teams are formed, and those who must attack are
distinguished from the defenders.
The defenders wear their hats, and sit inside the circle with their backs facing each other. One member is
elected as the Guard (Slr).
The attackers must steel the hats and take them to the tree.
The sitting team members can, also, hit one of their rivals with their legs to have the whole team lose the
game. They can, also, resist against those who want to steel their hats.

54

.
.
.
) ( .
.
.
.

Koshak-Mallq

Two teams are formed, and are called as, either, the bridge or the jumpers.
The bridge is formed when two stronger individuals bend forward with their backs touching each other, to
take each others hands by pushing their arms in between their legs.
A third player sits on his knees and pushes his head in between the two. In some places, four individuals
take part in making the bridge.
Then, the jumpers take turns to run and jump over the bridge.
Those who are not able to jump will lose the game. Mr-o Bleshtak (the snake and the pad) is another
name for the game.

56

. :
:
:
:
:
:

.
.
1 . .

Gorgam-o Galle Mibaram

Gorgam-o Galle Mibaram (I am the wolf; and I have come to seize the cattle) is another game for
younger children. Two skilled players take the roles of the Gorg (wolf) and the Chupn (sheperd), with
the others hiding behind the sheperd as sheep, linked with each other by grabing each others clothes. The
wolf stands facing the sheperd. The players recite the following song:
The wolf: I am the wolf; and I have come to seize the cattle;
The sheep: I have a sheperd; you can not;
The wolf: My teeth are sharper;
The sheep: My meet is more delicious;
The whole group (moving from side to side): Where is my aunts house? This way! No, that way!
Having each-others clothes, the sheep move from side to side, and the wolf tries to catch them, and to
make them separated, one by one. The sheep separated from the cattle join the wolf, catch his clothes, and
help in seizing more sheep. The game ends when one sheep remains for the sheperd, who must be the wolf
in the new round of the game.

58

.


.
.
: ) ( .
.
.
.
.

Lfand-bzi

Lfand-bzi (a game with a tight-rope) constitutes a folk performance game, most popularly played in the
northern provinces Iran. To become professionals the players must go through lots of experimental phases.
Titled, also, Sen-bzi, Dr-bzi, Rismn-bzi, and Band-bzi, among some other such names, the game
used to be, originally, performed, in various festive events, including weddings, or in the course of seasonal
markets. Nowadays it constitutes part of some official ceremonies, as well as varios regional festivals. The
game consists of declamations, performances, music, aerobics, wrestling, acrobatic movements on a piece
of rope, as well as recitations of special prayers.The practitioners include a tight-rope runner (Pahlevn),
a clawn (Ylnchi/Pahlevn Ylnchi), and a band of musicians, performing Sorn (an Iranian wind
instrument), or Dohol and Nqre (two Iranian percussions). The performance starts with Pahlevns saying
prayers; he then continues with various tight-rope running techniques, proper or even with the aid of some
instruments, including, bicycles, charis, bed pieces, cooking ovens, or, even, kitchen vessels.The clawn
accompanies with imitating on the ground: black in face and wearing funny clothes. The band of musicians
play throughout.

60

) (

.
.
.
. .
. )
( .

.

61

Xare Sowz Palone Sowz

Divided into two teams, the players, first, elect a Slr (captain) for each team. Following this, members
of one team take the role of Kharaks (ponies), while the others play as Savrs (riders).
The Slr of Kharaks, then, stands in front of the other team members, and makes a hook with his two
hands, by tightening his fingers with each other. One team member, then, comes forward, bends, and puts
his head on the hook, while grabbing the captain with his arms. Other team members follow, by bending
and grabbing the member in front.
The Savrs, then, take turns to run and jump on the back of the ponies. While doing this, they sing Khar-e
Sowz, Plun-e Sowz (roughly, green pony, green saddle). The two teams change places, if one member of
the riders fails to ride, and falls down.

62

.
. .

. .

.

Nejt-bzi

Meaning saving game, Nejt-bzi starts after the players are divided into two groups. Then they are called
as either the team of the sheriff (Druqe), or the team of the thief (Dozd). A place is also determined as the
jail (Zendn).
The thieves, then, run away, and the team of the sheriff must arrest them and take them to the jail. One
round ends after all thieves have been sent to the jail.
The thieves, in turn, try to come near to the jail, without being arrested, to hit its wall. If one manages to do
so, he will remain immune in the face of the Sheriff team. The jailed thieves will be freed by this act too,
and the game continues.
If all of the thieves manage to hit the jail walls, the game ends, again, and the two teams change places.

64

.
.
.
.

. .

Vasati

Denoting a game of running between two groups, Vasati is played by two competing teams. The team to
remain in the middle is elected, and the other team is divided into two groups, which stand at the two sides
of the field, surrounding the team in the middle.
The goal is to hit the members of the surrounded team with a ball. ne team is elected to play bfirst. Those
who are hit, must leave; and those who grab the ball in the air, score a bonus (called bol); each bol brings an
outed player back into the field. The bonus can, also, be saved for future uses. Having the last member hit
by the ball, the two teams change places.

66

.
. .


.

.

Haft Sang

Meaning seven stones, the game consists having seven pieces of stone, on top of one another to make a
small pillar. The players are arranged as two teams, and the starters are elected.
The starters try to hit the stones with a ball at a distance.
The competing team remain waiting. If none of the other team members is able to hit the column of stones,
the two teams change places.
By the time one member is able to hit the pillar, the competing team members take the ball and run after the
other team members, to hit them, one by one.
Meanwhile, the other team mebmers try to recollect the stones and rebuild the pillar.
If the pillar is rebuilt without all of the team members having been hit by the ball, the team is declared as
the winner.

68

.
.
. .
)
( .
. .
: / / / / / / / / / / //
//

Ye qol-Do qol
A game with 5 small pieces of stone, Ye qol-Do
qol starts with each players throwing all five
stones up, and trying to grab all with the back of
one of his hands. The one who manages to grab
more stones, will start the game.
To start, the first player throws all of the five
stones on the ground. He, then, selects one
piece, and throws it up, and tries to take one of
the pieces on the ground quickly, and, following
that, the one int he air, before it reaches the
ground. He, then, tries to collect all in the same
manner.
The other phase is to pass the stones on the
ground through a gate they make with one of
their hands.
The players go through a number of phases,
named as Ye qol, Do qol, Se qol, Chhr qol,
sut, Bezr-o Bardr, Yek dast, Beshkan-o
Nashkan, Golbpsh, Ye-tokhm-kon, Do-tokhmkon, Arus, Darvze-ye Avval-o Dovvom, Br
vardan

INTRODUCTION BY : AUTHOR
Plenty of ritualistic behaviors exist around, which we feel responsible to protect for our offspring; they encourage us to
feel as belonging to the same land and tradition. However, due to globalization, urbanization, and media proliferation,
among other rapid developments worldwide, nowadays, conducts and life styles (especially, the western type)
continue to be harmonized, with cultural diversities declined, and social communities and ethnicities inclined toward
commercializing cultures.
The last two decades have witnessed the propagation of a number of national and international documents aimed
at modifying the definition of the term Cultural Heritage, to direct part of the attention on the part of nations and
governments toward Intangible Cultural Heritage, as well. The new orientation is inevitable, since the ritualistic and
behavioral diversities are, nowadays, believed to help intercultural dialogue, and encourage respect for other cultural
methods.
Traditional games and sports are classifiable among those human behaviors which enjoy great potentiality for
communication and dialogue, to the extent that they, even, function as tools for reconciliation and collaboration among
people or communities.
The National Festival on Toys and Games for Children of the Past and Today created a ground to present to the
public part of the research conducted on the indigenous and local games of Iran. The present collection, however,
constitutes part of a major project currently followed; the project relies on a long tradition of fieldwork, and benefits
from various sources, including the research documented at various sports federations, including Rural and Nomadic
Sports, Public Sports, Alish Wrestling, Cabbedi, and Pahlevni and Zurkhne, among others, as well as the publications
by the Research Institute of Anthropology to the Iranian Cultural Heritage, Handicrafts, and Tourism Organization,
the department of Culture and People of the Islamic Republic of Iran Broadcasting, or by the interested independent
researchers.
To satisfy the needs of the general reader regarding to the Iranian Traditional Culture, the author has included short
introductions to the indigenous and local games of the 31 provinces of the Islamic Republic of Iran; the exposition
has been geared to a simple appealing language, both to attract various classes of readers, and to take a step toward
safeguarding the Iranian Intangible Cultural Heritage - although, realistically speaking, the specification of a game to a
locality is impossible due to the constant movement of the phenomenon among ethnicities and communities.
I deem it a duty to express my sincere thanks toward Mr. Alireza Khazaeli the Managing Director of the Qazvin
City Revival and Improvement Organization (QCRO), and Ms. Nazi Nafisi the Public Relation Manager of the
QCRO, for providing me the opportunity to prepare the present collection. I would, also, like to thank Mr. Qunli Han,
the Representative of UNESCO, and Dr. Mohammad Reza Saeedabadi, Secretary General of the Iranian National
Commission for UNESCO, for their warm supports, as well as the introductory texts they, kindly, added to it.
Morteza Rezvanfar
Faculty Member
Research Institute of Anthropology

INTRODUCTION BY : Representative of UNESCO

It gives me a great pleasure to write a few words for this new booklet which introduces thirty one traditional
and local games from all thirty one provinces of I. R. of Iran, and explains how these traditional sports and
games have been played and enjoyed by Iranian communities over very long period of time in history . The
booklet is prepared with support of the Gazivin Municipality, which should be praised indeed as this excellent
information material helps all who want to know more about charm and beauty of traditional sports and
games in Iran.
As Representative of UNESCO to I.R. of Iran, I value such comprehensive information on Iran's traditional
sports and games and efforts of the experts. As many people may know, UNESCO is the United Nations lead
agency for Physical Education and Sport (PES). Under PES, UNESCO carries out actions along lines of a)
Sport for Peace and Development; b) Quality Physical Education c) Traditional Sports and Games; d) Women
and Sport and e) Anti-Doping. This PES is supported widely by many Member States of the Organization.
This new initiative from Qazvin City to promote traditional sports and games is particularly meaningful for
our young generations today: with rapid increase and spreading of modern forms of sports and games, the
knowledge and appreciation towards traditional sports and games should not be lost. In UNESCO's terminology,
traditional sports and games (TSG) are integrated components of culture and part of cultural heritage. History
has shown that TSG have roles to form the cultural backbone of a human community, and UNESCO has
been committed to protect and promote TSGs to further community spirit, bring peoples together and install
a sense of pride in a societys cultural roots. The overall purpose to promote TSG is therefore to promote
international cooperation in the sphere of physical activity to strengthening peace, friendship, understanding,
and mutual respect between peoples, especially among the young generations.
I hope the dear readers would agree with me concerning this nice publication on Iran's traditional sports and
games.
Han Qunli
Representative of UNESCO

IRANIAN INDIGENOUS AND LOCAL GAMES

INTRODUCTION BY :
Secretary General of the Iranian National Commission for UNESCO
National and indigenous games and means of entertainment, emerging from the depths of the history of each nation, are
among the ancient, eternal elements of nations and closely intertwined with any nations cultural taste. Games, whether
national or indigenous, can, hence, be considered as life forms of the subtleties of literature, arts and any nations
culture as a whole.
Her genuine and ancient history has allotted a significant role to the land of Persia in the event of the emergence of
deeply rooted indigenous games in the world. The Games, satiated from the cultural waterbed of Iran, are embedded
in the Countrys ethnic and indigenous context. Irans unique climate and biodiversity have altogether created a fine
platform for the emergence of games of different types.
The development and initial formation of these games has not only taken account of the earthly aspect of the human
nature, but spirituality has also been a main constructing element of them, differentiating these games all together from
many other games in the world.
Ancient myths, indigenous traditions and rites, literature and the description of heroic tales as well as the manifestation
of the unity between the human spirit and living corpse altogether make up the essence of the various games in various
parts of Iran. On the other hand, all these games were developed in the benefit of generosity, the safeguarding of ethics
and the highlighting of humane characteristics of our kin.
The United Nations Educational, Scientific and Cultural Organisation (UNESCO), has taken constructive steps, striving
for the revival of national and indigenous games in various countries members to this Organisation. The significance of
this issue is such that, within the context of intangible cultural heritage, UNESCO has established a Global Network on
Traditional Sports and Games (TSG), aiming above all at the preservation of diversity and the rapprochement of cultures
in different societies for the effective transmission of values and solidarity among nations in culture.
In this view, as a counterpart of UNESCO at the country level, and considering the importance attached to the growing
concerns rising from the elimination of ancient, national and indigenous games, the Iranian National Commission for
UNESCO welcomes any activity aimed at the restoration and revitalisation of such games and means of entertainment.
In this trend and in the event of a completely spontaneous activity in line with UNESCO objectives, Qazvin Organisation
for the Restoration and Revitalization of Cultural Heritage has undertaken the compilation and printing of a title on
introducing national and indigenous Iranian games, in a joint effort with the Tribal and Rural Sports Federation of the
Islamic Republic of Iran.
Desirous that Iranian youth and adolescents, now lost in the tight surrounding of modern games and means of
entertainment with their various destructive, violent, fearsome, unwise and outcomes, turn to and find peace and calm
in the attractive, munificent, wisdom-oriented and refreshing national and indigenous games of their predecessors.
Dr Mohammad Reza Saeidabadi
Secretary General of the Iranian National Commission for UNESCO